Johannes Klingebiel’sPositional Play is a masquerade of shape and texture, a carbonated collection of capers to stray and sway with.
The Cologne-based producer, DJ, and Ancient Future Now label-boss dispatches four tracks of angular, emotive acid house destined to be intensified by the reception of perspiring dancers and exultant listeners around the globe.
“Positional Play” combines the gentle whiplash of splashing snares with a delirious, flourishing arpeggiated melody, while “Nah” draws the ecstatic inward to its essentials, opening with the sparse chime of bells, faraway metallic percussion, and plaintive piano pluck before accelerating into a chord-busting frenzy.
The latest 12” in a new chapter of Beats In Space Records, Johannes Klingebiel’s Positional Playis available for pre-order now at the shop.P
Following the release of last year’s Nue, the fourteenth installment of FRKWYS, RVNG’s intergenerational collaboration series, Tashi Wada shares musical space with Laurel Halo and Julia Holter by way of their respective remixes of “Niagara” and “Fanfare.”
Both Laurel and Julia extract underlying moods from Nue for their singular takes on the Wadas’ original compositions (Tashi composed Nue with his father, Yoshi Wada, a pioneering Fluxus artist). Halo wields the sirens of Nue as signals of melodic paranoia pervading her percussive and propulsive “Lilith” mix of “Niagara.”
Holter revisits the steady drones and cascading keys of “Fanfare,” on which she contributed vocals and instrumentation on Nue, for her “Unearthly Bird” remix. Coaxing whispers prelude the bagpipes before vocals take center stage, transforming her remix into a composition baring resemblance to her 2018 album, Aviary. Tashi contributed to that album as Julia did to Nue; her take on “Fanfare” represents a further enmeshing of the duo’s musical union.
Emily A. Sprague’s Water Memory and Mount Vision are presented in new and vivid detail. Through sound and poetry, Emily’s craft focuses on fleeting moments of crystalline clarity and meditates on expanded lifetimes of intricate meaning-making. Memory and vision, ocean and mountains, question and answer, emotions and infinity. Sunshine, lizard, sea salt. Previously issued as small editions of self-released cassettes, Emily’s two albums have been resequenced and mastered by Taylor Deupree, each including previously unheard tracks.
A collection of reflections are visible in the mirrored structures of Water Memory andMount Vision, two chapters – two halves – each complemented by a written verse. As much about the presence in youthful experimentation as the permanence of transition and maturation, Water Memory, originally released in 2017, is the first long-form instrumental music Emily ever channeled. Mount Vision, originally released in 2018, was conceived in a smaller window of time than its predecessor, the pure residue of intense emotional build up during a period of self-healing and unguarded reflection.
Emily’s mission on this planet may be facilitating – or illuminating – the correspondence between innermost knowledge and intelligent nature, and Water Memory / Mount Vision are most certainly monumental documents along this sharing path.
Watch the video for “Your Pond,” directed by Emily, below:
Emily A. Sprague’s newly sequenced and mastered double LP and CD editions of Water Memory / Mount Vision will be available on May 24, 2019. A limited print of Emily’s writing, Ambient Poems (2017 – 2018), will be included to the first 300 mail order customers.
On behalf of Emily A. Sprague, a portion of the proceeds from Water Memory / Mount Vision will benefit the LGBTQ Centerin Kingston, NY under Come! Mend!, an initiative bridging RVNG’s work and interest supporting non-profit organizations and charities.
full/new is an expression of mutual planetary motion. Drawing a school of listeners to the floor of Commend’s relatively small interior on a late July Sunday afternoon in 2018, Emily A. Sprague and Lightbath (aka Bryan Noll) provided an hour of aqueous reflections that whispered with the trees outside on Forsyth street and tempered the activity of the surrounding island.
Mastered by Andrew Osterhoudt, full/new was originally presented as a limited run of cassettes in hand-numbered cases as part of our Commend Here series, which captures the magical moments of select Commend events. It is now available in digital format for enjoyment in the ether.
Visible Cloaks, Yoshio Ojima and Satsuki Shibano share “Anata,” the second offering from serenitatem, their upcoming collaborative album for the longstanding FRKWYS series. Recorded as a quartet in Tokyo at Sounduno Studios after Spencer Doran (one half of Visible cloaks, alongside Ryan Carlile) and Ojima spent months remotely exchanging sound sketches, serenitatem demonstrates a number of creative strategies. One of which, MIDI randomization, features prominently on “Anata.”
The process gave the quartet melodic lines that informed the composition and what Doran calls “randomized clouds,” or “tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.” Carlile would also feed Ojima and Shibano’s text into Wotja, a generative music software which produced a MIDI language around which the group expanded their compositions.
On “Anata, Shibano’s spoken word floats atop lulling swells of synthetic woodwinds and vocalizations. In Doran’s video, “Anata” is visualized over panoramic views of a hyper-pigmented lawn and sky.
The Freedom To Spend catalog is now streaming on Resonate.
Resonate is a co-operative streaming service implementing a new “Stream2Own” model. Per their mission statement, Resonate is working to “Rewire the music industry,” and offer a more sustainable model for artists.
You can learn more about Resonate and their mission here.
Les Archives, a whooping gonzo of synthesizers, samplers, drum machines, and a mysterious string quartet; composed, arranged, and produced by the elusive Japanese artist June Chikuma is out now via Freedom To Spend.
The 1986 reissue, previously released on Toru Hatano’s Picture Label as Divertimento, so many decades ago, now glows with a different purpose; one that revises the past while maintaining, and finally elevating, its hidden influence. Les Archives is the score for a movie of mistaken identity – clones redressed in a guise of the artist’s re-coding. The legitimate artifact deceives history. There is no original, but this copy is singular and complete.
Holly Herndon operates at the nexus of technological evolution and musical euphoria.
Today, the acclaimed performer and composer reveals new single “Eternal”, a ghostly transmission inspired by ideas of eternal love through mind uploading; a modern-day vampire story. Punctuated by grandiose orchestration and the voices of her Berlin-based vocal ensemble, the accompanying video was constructed from footage processed from the perspective of an intelligent machine, analysing and searching for a face, yearning for a connection.
Watch the video for “Eternal” below
Pre-order the LTD edition clear LP, standard LP, and CD at the shop, or pre-save / pre-order on all other platforms here
“Eternal” follows the 2018 release of Holly and Jlin’s collaborative song “Godmother (feat. Spawn)”. The skittering track, which was created by Spawn reimagining the artworks of her ‘godmother’ Jlin in a trained model of her mother’s voice with no editing or sample trickery, was praised everywhere from NPR to The Guardian to New York Times, and elsewhere.
You can hear traces of Spawn throughout the album, developed in partnership with long time collaborator MathewDryhurst and ensemble developer Jules LaPlace, and even eavesdrop on the live training ceremonies conducted in Berlin, in which hundreds of people were gathered to teach Spawn how to identify and reinterpret unfamiliar sounds in group call-and-response singing sessions; a contemporary update on the religious gathering Holly was raised amongst in her upbringing in East Tennessee.